Discussion in 'The Sound Hound Lounge' started by HugoTheCat, Aug 10, 2019.
Oddly, I can completely agree with both of these statements.
According to fogerty’s autobio he often went back into the studio and replaced parts the other guys had played. I don’t know if that’s true, you’d think the other guys would’ve been pissed off and with all the s##t that went down someone would’ve said something.
Recently I read that fogerty got the Rick back after it was missing for years. Apparently he was so bitter over CCR he just gave it away.
dancing banana for you for the Lebowski quote "lodged where?"
That Ric and a detuned (whole step down) Les Paul custom was a big part and the custom amps. The rest is consoles and outboard. Never hated the sound as much as many here...but I certainly never chased it either.
I love John Fogerty...especially his voice and writing style.
I've heard him state the recorded standing in front of the Kustom amps LOUD for sustain.
Everything, I mean everything served his songs.
Re>best rhythm section, if you believe Fogerty's book he practically held Clifford's drum sticks and fretted Cook's bass to "get what he wanted."
No he still has it.
And he's put the bitterness aside to have a business relationship with the others but there is zero chance of him ever playing music with them again.
He's bitter that they didn't support him in his war with Fantasy and Saul Zaentz. He didn’t even reconcile with Tom on his deathbed.
And he maintains that he alone "created CCR,'s music," that it was entirely his vision and his concepts and he is bitter that while he was purportedly slaving away like an ascetic in the studio 365/24/7, the others were more interested in the fringe benefits of being a rock star like drinking, doping, money, partying and screwing, then at the end of the day wanted to be considered equal partners if not of equal importance in the deal.
That's why "Mardi Gras" is often called "Fogerty's Revenge," he told them "you think you're songwriters, have at it boys."
Fogarty is n record saying the Kustoms were too noisy to record, so the used Deluxe Reverbs in the studio. There is one in the pic as well.
I can believe that...
It just shows to each their own, I feel like they have some of the best tones ever recorded
On the back cover of Cosmos Factory you see John playing the Deluxe and Tom playing a Kustom in the studio.
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I think when they went on without him they pretty much proved that to be a crock. And I think he embarrassed himself with some of the stuff in that book. CCR as they are now sounds like CCR , particularly the rhythm section. JCF does not sound like CCR without them, even with the best ringers on the planet backing him up.
Even on the live albums CCR did when he was still with them the rhythm section sounded like the albums. The guitar work and vocals did not.
Those guys played together since they were kids and had developed a sound and feel for how each other play, and it still shows in their work.
I compare them to Charlie Watts and Bill Wyman. When Bill Wyman quit the Stones their sound changed drastically, and the magic was gone.
On other projects Mr Clifford and Mr Cook played on individually their sound and approach to playing changed.
But as I said, having their incredible groove in those songs is a huge part of what made their sound in the studio. When mixing you always mix instruments to each other, not just individually and then lump them together. Every EQ and dynamics adjustment you make is in deference to everything else going on. In a 4 piece band the drums and bass are indeed a strong influence on how the guitars and vocals must be mixed in.
And again, I think Mr Gary had a great deal to do with that sound.
Also, back then Fantasy wasn't doing much rock music, but I remember having some music by a band called Redwing that was on Fantasy, and they had a very similar sound. I think Fantasy studios had a lot to do with it as well. Back then when recording studios were actually rooms designed to be studios ( as opposed to just being computers and software) different studios had a different sound.
I always thought the bass in music coming from ABC/Dunhill had a specific sound in bands like the Mamas and Papas, Steppenwolf, and Three Dog Night. That sound didn't really change until Steely Dan, who I think might have chosen other studios to use.
This is completely tangential to this thread, but I almost ran over Zaentz when he was jaywalking across Throckmorton Ave in from of the Sequoia Twin theater in downtown Mill Valley during their annual film festival one year in the late 90s (I think it was 99). I slammed on my brakes, he shot me a scowling glance, and in that moment I recognized him.
I read they used the combination of detuned and standard guitars to get a fuller sound. The intro to Proud Mary is a great example. One standard and one detuned. Both playing open chords. One is playing a C shape. One is playing a D shape. Same chord. Big sound.
Shoulda finished the job...
There was a short film of them jamming with Booker T and the MGs in CCRs studio. It contained Fenders. As other have written, there's also the back cover of this LP showing Fenders, and some statements by J. Fogarty. I'm sure it was a mix of whatever they felt they needed at the time. The sound on the live recordings is not nearly as good as the studio recordings IMO,a nd I've been a fan since Suzie Q.
Now we know why Zaentz can't dance.
Fogerty strikes me as enormously talented and gifted and the primary creator of some timeless music, but also anal, OCD, oblivious to others' feelings, a control freak and a driven SOB.
This isn't the first nor will it be the last time that the dominant person in a music group has issues with mates who don't share those qualities.